Rapper Drake turned his OVO Festival in Canada into a star-studded affair on Monday night (05Aug13) by introducing Kanye West, Lil Wayne and Tlc to the stage and reuniting Sean 'Diddy' Combs with his former protege Ma$E. The Best I Ever Had hitmaker closed out his fourth annual event with a headlining set at the Molson Canadian Amphitheatre in his native Toronto and he made sure fans were given a show to remember by packing in the guest appearances from his hip-hop peers Wale, Big Sean, A$AP Rocky and French Montana, as well as R&B singers The Weeknd and Miguel.
West took over the stage to perform Can't Tell Me Nothing and New Slaves, and heaped praise on Drake, crediting the rapper with inspiring the Stronger star to team up with Jay Z for their 2011 collaborative album, Watch the Throne.
He said, "Me and Hov (Jay Z) would have never made Watch the Throne if this n**ga wouldn't have been pushing on us like that (sic)."
Lil Wayne then joined Drake for renditions of their joint songs The Motto, HYFR and Love Me, before the audience was taken back to the late 1990s with a surprise set by Combs and Ma$e, who teamed up for covers of Notorious B.I.G.'s Mo Money Mo Problems and It's All About the Benjamins.
The surviving members of TLC also took part in the nostalgic gig with Tionne 'T-Boz' Watkins and Rozanda 'Chilli' Thomas running through No Scrubs and Waterfalls, while Lil Mama - who will portray tragic rapper Lisa 'Left Eye' Lopes in an upcoming TV biopic - also made an appearance onstage, although she did not perform.
The big gig ensured the OVO Festival ended on a high after singer Frank Ocean was forced to pull out of headlining the first night of the event due to a tear to one of his vocal cords. His absence prompted organisers to scrap Sunday's (04Aug13) line-up and instead expand Monday's show.

Rapper Ludacris has paid tribute to his late father in an emotional new song which details his battle with alcoholism. The Area Codes hitmaker's dad, Wayne Bridges, struggled with his drink demons for much of the star's life, and his health took a turn for the worse after he was diagnosed with diabetes in 2006.
Bridges continued to drink right up until he was hospitalised in February, 2007, and Ludacris admits he seriously considered skipping the Grammy Awards that year, when he was favourite to win the Best Rap Album category, to remain by his father's bedside.
He ended up attending the prestigious Los Angeles ceremony and winning the Grammy for his album Release Therapy, and he dedicated the prize to his sick dad.
During a VH1 Behind The Music special, which aired in America on Sunday (28Jul13), he said, "It was 100 per cent special for me, all the emotion that was going on during that time with my father, I felt like I won it for him, and as soon as I went backstage, I just kind of broke down."
Bridges passed away two weeks later, at the age of 52, and Ludacris has used recent recording sessions for his next album as a form of therapy to help him come to terms with the loss.
Discussing the song Oceans and Skies, which is about his strained relationship with his alcoholic dad, he explained, "It was extremely therapeutic putting it together and I honestly think I shed a tear or two actually doing it. They say music is all about emotion, if you don't feel something then you shouldn't be listening to it. There was a lot of emotion put into this song and I think people are going to feel that."

"I want you to remember, Clark. In all the years to come. In all your most private moments. I want you to remember my hand at your throat. I want you to remember the one man who beat you."
DC Comics fans will recognize the above as a chilling quote spoken by one Bruce Wayne, a.k.a. Batman, to fellow protector of Earth and rival in a quest for narcissistic fulfillment, Clark Kent. Otherwise known, of course, as Superman. Spoken in Frank Miller's The Dark Knight Returns, this quote marks one of many unions of the two iconic characters. And it serves, via the good graces of Man of Steel director Zack Snyder and star Harry Lennix, as an introduction to Warner Bros' next big project: a Superman/Batman movie.
Entertainment Weekly reports that Snyder announced a follow-up to Man of Steel at San Diego Comic-Con, dropping the pretty stalwart hint of Batman's involvement by having Lennix recite the above passage. Although the long awaited Justice League movie might still be working the bugs out, the Kent/Wayne crossover might well be on track for imminent delivery.
But how will fans take to it? What with the lackluster reception to Man of Steel and the overwhelming adoration for Christopher Nolan's Dark Knight series, a film like this could be hit or miss. Even with our apprehensions, however, we're excited to see the prospect carried forth.
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Jim Carrey publicly announced that he has withdrawn his support from his upcoming film Kick-Ass 2, and will not be involved with its promotion. The actor, who portrays Colonel Stars &amp; Stripes, an ex-Mafia member turned masked vigilante, has decided that the violent nature of the superhero sequel conflicts with his standing sensitivity over tragedies like 2012's Sandy Hook shooting. Carrey tweeted over the weekend: "I did Kickass a month b4 Sandy Hook and now in all good conscience I cannot support that level of violence. My apologies to others involved with the film. I am not ashamed of it but recent events have caused a change in my heart."
Although the storyline's inclusion of a violent 11-year-old (Chloë Grace Moretz) has been met with controversy in the past, the nature of the film hadn't prevented the actor from signing onto the project in the first place, nor have any events since inspired any previous vocalization of conflict about his involvement. In March, Carrey opened up to MTV News about the relationship between the film's super-violence and his beliefs about gun control in the aftermath of the devastation in Connecticut:
"...my character is a guy that came from a violent background who is trying to turn it around and he uses a gun with no bullets in it. These are things I am considering now because I just feel like we don't cause the problem, but we don't help it much either. So, I am becoming more conscious of that. And I made Kick-Ass before all the things, the unfortunate shootings happened and stuff happened, and so that's kind of a little interesting blast from the past almost. But it's just going to be a great movie but I'm being careful with choices."
Mark Millar, the writer and creator of the Kick-Ass comic book series as well as the executive producer for the two films, is inevitably astonished about the comedian's sudden transition from big fan to disapproving criticizer. In a statement posted on Millar World a few hours after Carrey's announcement, Millar replies:
"First off, I love Jim Carrey. When producer Matthew Vaughn and director Jeff Wadlow called me up and suggested we do a conference call with him to talk about the sequel to the 2010 original I was genuinely excited. Like you, I love Eternal Sunshine, Man on the Moon and The Truman Show. Carrey is an actor like no other, an unpredictable force of nature who brings a layered warmth and humanity to his work as well as that unstoppable energy he's always been renowned for. He had lunch with Matthew around the time of the first movie and dug it so much he appeared that night on Conan O'Brien DRESSED as Kick-Ass, singing a duet with Conan dressed as Superman. Vaughn and I made a mental note to work with this guy as soon as possible as we're both huge admirers.
Cut to almost three years later and I'm sitting in a screening room in London watching what I think is one of Carrey's best-ever performances. I'd seen Kick-Ass 2 in many forms, but this was the absolute final cut complete with opening titles, music and a terrific post-credit sequence you're all going to love. I couldn't be happier with this picture. It's as good as the original and in many ways BIGGER as it expands upon the universe and really takes things to the next level. There are a lot of stand-outs in the sequel, every actor really firing on full cylinders and an amazing script that moves like a rocket. But Carrey in particular is magnificent. He's never done anything like this before and even from the trailer, with his masked dog sidekick specially trained to munch criminal balls, you can see that something really fun and special is happening here. Colonel Stars and Stripes is so charismatic and all his scenes are up there with Nic Cage's amazing turn as Big Daddy in the original... which made it all the more surprising when Jim announced tonight that the gun-violence in Kick-Ass 2 has made him withdraw his support from the picture.
As you may know, Jim is a passionate advocate of gun-control and I respect both his politics and his opinion, but I'm baffled by this sudden announcement as nothing seen in this picture wasn't in the screenplay eighteen months ago. Yes, the body-count is very high, but a movie called Kick-Ass 2 really has to do what it says on the tin. A sequel to the picture that gave us HIT-GIRL was always going to have some blood on the floor and this should have been no shock to a guy who enjoyed the first movie so much. My books are very hardcore, but the movies are adapted for a more mainstream audience and if you loved the tone of the first picture you're going to eat this up with a big, giant spoon. Like Jim, I'm horrified by real-life violence (even though I'm Scottish), but Kick-Ass 2 isn't a documentary. No actors were harmed in the making of this production! This is fiction and like Tarantino and Peckinpah, Scorcese and Eastwood, John Boorman, Oliver Stone and Chan-Wook Park, Kick-Ass avoids the usual bloodless body-count of most big summer pictures and focuses instead of the CONSEQUENCES of violence, whether it's the ramifications for friends and family or, as we saw in the first movie, Kick-Ass spending six months in hospital after his first street altercation. Ironically, Jim's character in Kick-Ass 2 is a Born-Again Christian and the big deal we made of the fact that he refuses to fire a gun is something he told us attracted him to the role in the first place.
Ultimately, this is his decision, but I've never quite bought the notion that violence in fiction leads to violence in real-life any more than Harry Potter casting a spell creates more Boy Wizards in real-life. Our job as storytellers is to entertain and our toolbox can't be sabotaged by curtailing the use of guns in an action-movie. Imagine a John Wayne picture where he wasn't packing or a Rocky movie where Stallone wasn't punching someone repeatedly in the face. Our audience is smart enough to know they're all pretending and we should instead just sit back and enjoy the serotonin release of seeing bad guys meeting bad ends as much as we enjoyed seeing the Death Star exploding. The action in Kick-Ass 2 is like nothing you've ever seen before. The humour, the characters, the heart and the set-pieces are all things we're very proud of and the only warning I'd really include is that it's almost TOO EXCITING. Kick-Ass 2 is fictional fun so let's focus our ire instead of the real-life violence going on in the world like the war in Afghanistan, the alarming tension in Syria right now and the fact that Superman just snapped a guy's fucking neck.
Jim, I love ya and I hope you reconsider for all the above points. You're amazing in this insanely fun picture and I'm very proud of what Jeff, Matthew and all the team have done here."
It seems like Carrey's sudden change of heart is a reflection of his dual personalities in Me, Myself &amp; Irene. Regardless of how he's feeling, Kick-Ass 2 will fire into theatres on August 16, with or without the star's support.
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We aren't likely to see another movie come out this year that will stir up as much excitement as Man of Steel. As pumped as fans might be for Brad Pitt's forthcoming zombie epic World war z, the second chapter of Peter Jackson's The Hobbit trilogy, or Katniss' next go at survival in The Hunger Games: Catching Fire, Superman reigns supreme among fanboys worldwide. And it is this passion that not only results in devoted attention to and conversation about the new film, now in theaters, but also tons of half-cocked creative exploits and harebrained theories — you know, the fun stuff. The stuff that even the top bananas on the Man of Steel set love. Producer Charles Roven, for instance, is totally on board with all of the trailer mash-ups and off-the-wall predictions we can muster.
Responsible not only for Warner Bros' latest Clark Kent feature but also each of Christopher Nolan's Batman films, Roven is no stranger to an adamant fan base. And while some filmmakers might grow weary of the rumor mill that inevitably engulfs movies like these, Roven champions the passion. "I love the interest. Because of the interest, you have these fans who really make the film this big, huge cultural phenomenon," Roven tells Hollywood.com. "You need fans like that. You need fans who hang on all this stuff. I'm happy that they take our trailers and make their own. I love the fans."
But this doesn't mean that Roven is participating in every Internet conversation about the comic book characters, like Batman and Lex Luthor, suspected of making appearances in Man of Steel. "Quite frankly, if you responded to every rumor, you'd be non-stop responding. The one thing we didn't want to do, we didn't want the rumors to influence what we were doing. So we responded to none." Roven also considers this closed-mouth approach a service to the fans. "I want them to be happy. But part of them being happy is them not knowing everything that's going to happen before they walk into the movie theater. That makes it easy, also, to not respond."
Despite his stoic attitude, it can't be easy for Roven to face the sea of fervor that surrounds Man of Steel. After the mixed reception of Bryan Singer's Superman Returns in 2006, Man of Steel has a pretty big weight on its shoulders: the recreation of Superman for the modern era. "My interpretation of Superman Returns ... is that it was really an homage to Superman: The Movie, the Dick Donner picture." Roven adds, "[Singer is] a really smart filmmaker ... But that did leave the door open to reimagining the character, which we felt that the character needed. And that's how we approached the movie. We talked about it amongst ourselves, and said that if we were going to do this, we'd just need to play it like there's never been another Superman movie. Even though we were all raised on Dick Donner, and love the Dick Donner movie."
According to the producer, the Superman of today needs to serve a different purpose than that of eras past. "The '50s were a rather calm period in the world. Things were really black and white, and relatively simple. So the character Superman could be that and still be relatable," Roven says.
He continues on this theme: "Things are more complicated [today]. So you have to have a character, if he's going to be relatable to the broad range that you want, he has to not necessarily have everything clear cut for him. He needs to get there. He needs to have choices that he has to make. He needs to have emotional ground that he has to cover. At least that's what we felt."
Those unsure of how Superman's evolution will translate have looked to Nolan's Dark Knight trilogy, which revamped Batman for sophisticated modern audiences. But Roven promises there will be a distinction between his Bruce Wayne movies and what we'll see with Clark Kent. "We tried to make sure that we didn't take the character in the Bruce Wayne dark direction. Because Bruce Wayne is completely different from a character standpoint," says Roven. "Even if you're talking about the comic genre, he's a completely different character." Roven continues, "With Bruce Wayne, Chris focused on having the character develop from that personal tragedy that happened in his life. Clark really didn't understand the personal tragedy that happened in his life. He was trying to figure out where he came from. That's also completely different."
"But still, being true to the character, we wanted his choices to be emanating from whatever life experience he had," Roven says. "It was only natural that he would want to know who he was. And go on a trip, soul searching to discover who he was, what his purpose was. And then we loved the fact that he had a very complex decision to make. Because who he was and what he needed to be were in conflict."
So to tally up all of Man of Steel's goals, as elucidated by Roven, we have: the illustration of this internal turmoil, the evolution of an iconic American character, and the preservation of all the passions inhabited by countless fans? No defecit of marks to hit. But with creative forces like the passionate, fan-loving producer, Batman mastermind Christopher Nolan, and comic aficionado director Zack Snyder, Superman might have that fighting chance in his newest go at the big screen.
Follow Michael Arbeiter on Twitter @MichaelArbeiter | Follow hollywood.com on Twitter @hollywood_com
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In celebration of Superman's 75th anniversary, and the release June 14 of the Son of Krypton's latest big-screen adventure Man of Steel, writer Larry Tye, author of Superman: The High-Flying History of America's Most Enduring Hero, Now Out In Paperback, contributes this essay exclusively to Hollywood.com on the unique qualities some of the actors who've played Superman — Kirk Alyn, George Reeves, Christopher Reeve, and Henry Cavill — have brought to the role.
Nobody is more All-American than Superman in his red cape, blue tights and bright yellow "S." So how is it that a Brit – a native of the Channel Islands and a product of a Buckinghamshire boarding school, with an English brogue no less – is donning the leotards and cape in the new Man of Steel movie?
Warner Bros' selection of Henry William Dalgliesh Cavill as our newest Superman seems ill-conceived if not profane, the more so coming just as America is celebrating its hero's milestone 75th birthday. But Cavill, a British heartthrob who played the First Duke of Suffolk on the Showtime series The Tudors, wouldn't be the first on-screen Man of Steel to defy convention and, in so doing, to soar higher than even his studio handlers dared dream.
Kirk Alyn, the original live-action Superman, was more a song-and-dance man than an actor, having studied ballet and performed in vaudeville and on Broadway in the 1930s and early forties. That's where he decided to trade in the name he was born with, John Feggo, Jr., for Kirk Alyn, which he felt was better suited to the stage. He appeared in chorus lines and in blackface, modeled for muscle magazines, and performed in TV murder mysteries in the days when only bars had TVs and only dead-end actors performed for the small screen. But he had experience in movie serials, if not in superheroes, so when he got a call from Columbia Pictures in 1948 asking if he was interested in trying out for Superman he jumped into his car and headed to the studio. Told to take off his shirt so the assembled executives could check out his build, the burly performer complied. Then producer-director Sam Katzman instructed him to take off his pants. "I said, 'Wait a minute.' They said, 'We want to see if your legs are any good,'" he recalled forty years later. They were good enough, and fifteen minutes after he arrived, Alyn was hired as the first actor to play a Superman whom fans could see as well as hear.
Alyn and his directors were smart enough not to try and reinvent the character that Bud Collyer had introduced so convincingly to the radio airwaves. “I visualized the guy I heard on the radio. That was a guy nothing could stop,” Alyn said. "That's why I stood like this, with my chest out, and a look on my face saying, 'Shoot me.'" His demeanor said "tough guy" but his wide eyes signaled approachability and mischievousness, just the way creators Jerry Siegel and Joe Shuster had imagined their Superman a decade before. Alyn understood, the same way Collyer had, that kids could spot a phony in an instant. If they didn't think Alyn was having fun – and that he believed in Superman – they wouldn't pay to see his movies. His young audience, after all, didn't just admire the Man of Steel. They loved him. Superman was not merely who they dreamed of becoming but who they were already, if only we could see. The good news for them was that Alyn was having fun, and he did believe in his character in a way that these pre-teens and teens appreciated even if movie reviewers wouldn't.
In the 1950s, when Superman was gearing up for television, producer Robert Maxwell and director Tommy Carr screened nearly two hundred candidates who were sure they were him. Most made their living as actors, although some were full-time musclemen. Nearly all, Carr said, "appeared to have a serious deficiency in their chromosome count." So thorough – and perhaps so frustrating – was their search that the executives stopped by the Mr. America contest in Los Angeles. One choice they never seriously considered, despite his later claims, was Kirk Alyn, who had done well enough for the serials but had neither the acting skills nor the looks around which to build a Superman TV series. The search ended the day a barrel-chested B-movie actor named George Reeves showed up on the studio lot.
Maxwell's co-producer had recognized Reeves in a Los Angeles restaurant, seeming "rather forlorn," and suggested he come in for a tryout. He did, the next morning, and "from that moment on he was my first choice," said Carr. "He looked like Superman with that jaw of his. Kirk had the long neck and fine features, but although I like Kirk very much, he never looked the Superman Reeves did." His tough-guy demeanor was no put-on. Standing six-foot-two and carrying 195 pounds, Reeves had been a light-heavyweight boxing champ in college and could have gone further if he hadn't broken his nose seven times and his mother hadn't made him step out of the ring.
The Superman TV show, like other incarnations of his story, turned around the hero himself. Collyer, the first flesh-and-blood Man of Steel, had set the standard. He lowered and raised the timbre of his voice as he switched between Superman and Clark, making the changeover convincing. Maxwell's wife Jessica, the TV dialogue director, would follow Reeves around the set urging him to do the same – but he just couldn't master the switch. The result: a Superman who sounded just like his alter ego. They both swallowed their words. They looked and acted alike. There was no attempt here to make Clark Kent into the klutz he was in the comics. No slouching; no shyness. Reeves portrayed the newsman the way he knew, and that Jessica's husband told him to: hard-boiled and rough-edged, Superman in a business suit. The only differences were that Reeves would shed his rubber muscles and add thick tortoise-shell glasses with no lenses – that was the sum total of his switch to Clark Kent.
But it worked. It worked because fans wanted to be fooled, and because of the way Reeves turned to the camera and made it clear he knew they knew his secret, even if Lois, Jimmy, and Perry didn't. This Superman had a dignity and self-assurance that projected even better on an intimate TV screen than it had in the movies. Reeves just had it somehow. He called himself Honest George, The People's Friend – the same kind of homespun language Jerry and Joe used for their creation – and he suspended his own doubts the way he wanted viewers to. He looked not just like a guy who could make gangsters cringe, but who believed in the righteousness of his hero's cause. His smile could melt an iceberg. His cold stare and puffed-out chest could bring a mob to its knees. Sure, his acting was workmanlike, but it won him generations of fans. Today, when those now grown-up fans call to mind their carefree youth, they think of his TV Adventures of Superman, and when they envision Superman himself, it is George Reeves they see.
Christopher Reeve was an even less likely choice when producers set out to find the right Superman for their 1970s motion picture extravaganza. It wasn't just his honey brown hair and 180 pounds that did not come close to filling out his six-foot-four frame. He had asthma and he sweated so profusely that a crew member would have to blow dry his armpits between takes. He was prep school and Ivy League, with a background in serious theater that made him more comfortable in England's Old Vic than its Pinewood movie lot. He was picked, as he acknowledged, 90% because he looked "like the guy in the comic book . . . the other 10% is acting talent." He also was a brilliant choice. He brought to the part irony and comic timing that harked back to the best of screwball comedy. He had dramatic good looks and an instinct for melding humanism with heroism. "When he walked into a room you could see this wasn't a conventional leading man, there was so much depth he had almost an old movie star feeling," says casting director Lynn Stalmaster. The bean counters loved his price: $250,000, or less than a tenth of what Marlon Brando would get for the modest role as Superman's dad. Director Richard Donner asked Reeve to try on his horned-rimmed glasses. Squinting back at him was Clark Kent. Even his name fit: Christopher Reeve assuming the part made famous by George Reeves. "I didn't find him," Donner would say throughout the production. "God sent him to me."
Superman changed with every artist who filled in his features, writer who scripted his adventures, and even the marketers and accountants who managed his finances and grew his audience. Each could claim partial ownership. Actors like Christopher Reeve did more molding and framing than anyone and could have claimed more proprietorship. With each scene shot it was clearer that he was giving the hero a different face as well as a unique personality. Reeve's Superman would be funnier and more human – if less powerful or intimidating – than any who had proceeded him. He was more of a Big Blue Boy Scout now, in contrast to Kirk Alyn's Action Ace and George Reeves's Man of Steel. In the hands of this conservatory-trained actor, Supes was getting increasingly comfortable baring his soul.
Picking up the role and the mythos now will be English actor Henry Cavill, whose first appearance on the big screen was as Albert Mondego in The Count of Monte Cristo (2002). Can Cavill make us believe the way Reeve, Reeves, and Alyn did, and make us embrace a British-accented Man of Metropolis?
History suggests he can – provided he and Warner Bros. remember the formula that has served their hero so brilliantly for 75 years and counting. It starts with the intrinsic simplicity of his story. Little Orphan Annie and Oliver Twist reminded us how compelling a foundling's tale can be, and Superman, the sole survivor of a doomed planet, is a super-foundling. The love triangle connecting Clark Kent, Lois Lane, and Superman has a side for everyone, whether you are the boy who can't get the girl, the girl pursued by the wrong boy, or the conflicted hero. His secret identity might have been annoying if we hadn't been let in on the joke and we didn't have a hero hidden within each of us. He was not just any hero, but one with the very powers we would have: the strength to lift boulders and planets, the speed to outrun a locomotive or a bullet, and, coolest on anyone's fantasy list, the gift of flight.
Superpowers, however, are just half the equation. More essential is knowing what to do with them, and nobody has a more instinctual sense than Superman of right and wrong. He is an archetype of mankind at its pinnacle. Like John Wayne, he sweeps in to solve our problems. No "thank you" needed. Like Jesus Christ, he descended from the heavens to help us discover our humanity. He is neither cynical like Batman nor fraught like Spider-Man. For the religious, he can reinforce whatever faith they profess; for nonbelievers he is a secular messiah. The more jaded the era, the more we have been suckered back to his clunky familiarity. So what if the upshot of his adventures is as predictable as with Sherlock Holmes: the good guy never loses. That is reassuring.
There is no getting around the fact that the comic book and its leading man could only have taken root in America. What could be more U.S.A. than an orphaned outsider who arrives in this land of immigrants, reinvents himself, and reminds us that we can reach for the sky? Yet this flying Uncle Sam also has always been global in his reach, having written himself into the national folklore from Beirut to Buenos Aires. If Cavill acknowledges both sides of that legacy, the all-American and the all-world, then he should be able to reel back aging devotees and draw in new ones.
Larry Tye was an award-winning journalist at The Boston Globe and a Nieman Fellow at Harvard University. A lifelong Superman fan, Tye now runs a Boston-based training program for medical journalists. He is the author of the New York Times bestseller Satchel, as well as The Father of Spin, Home Lands, and Rising from the Rails, and co-author, with Kitty Dukakis, of Shock. He lives in Lexington, Massachusetts, and is currently writing a biography of Robert F. Kennedy.
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The Writers Guild of America selected the 101 best written TV series of all time. Here's what we have to say about the top five.
1. The Sopranos It would be a crime NOT to put David Chase's mob drama about Italian-American mobster Tony Soprano (played by James Gandolfini) at the top of the list. By showcasing intense issues with an artistically graphic and entertaining flair, the writers struck ground in the mafia genre and created a family that "gave us an offer we couldn't refuse." Six un-fogget-able seasons led us to an infamous series finale that left viewers forever in disbelief. No one can remember what the episode was about, but the cliffhanger ending will forever stick in our minds. Cue "Don't Stop Believing."
2. Seinfeld There might be "no soup for you" but WGA gave a second place nod to Seinfeld's co-creators, Jerry Seinfeld and Larry David. Although David's spot at #30 for Curb Your Enthusiasm recognizes the show's "retroscripting" of an outlined plot filled with improvised dialogue, Seinfeld is a sitcom where the writers essentially write about "nothing." While episodes are mainly based on the writers' real-life experiences, the fictionalized antics of Jerry, Elaine, George and Kramer have become a cultural phenomenon through classic episodes such as "The Puffy Shirt" and "The Pez Dispenser." Yada, yada, yada.
3. The Twilight Zone It is easy to recognize the haunting success of the sci-fi fantasy series through its evolution into a feature film, a radio series, a comic book and a variety of other spin-offs. But however revered the series is in the world of sci-fi lovers, it is difficult to decipher who should be commemorated for the series' lasting effect on pop culture: the writers of the series or the composers of the iconic theme song. The thrilling Twilight Zone achieves something that is less common in television today by allowing the politically symbolic stories to be the star of the series, even though several of the actors (i.e. Robert Redford, William Shatner, and Carol Burnett) went on to become icons.
4. All in the Family While the CBS sitcom wasn't initially a television hit, it soon blew up with its depiction of controversial issues never before seen in a sitcom format. Notorious for using television comedy to generate a national conversation on difficult issues, the writers revolved present day conflicts around family life inside a Queens home. A true test of the show's success is that even though the show ended over 30 years ago, the well-written but not always politially correct characters still influence their most faithful viewers: the recent death of beloved actress Jean Stapelton, best known as the family's matriarch Edith Bunker, has left many fans in mourning.
5. M*A*S*H M*A*S*H, starring Alan Alda and Wayne Rogers, is most notable for being the only long-running series based around a war zone. However, it is also commemorated for its flawless integration of comedy and the traumatic themes inevitable in a Mobile Army Surgical Hospital. The series spans a three-year military conflict during the Korean War, but the real beauty of many of the plotlines is that they were founded on stories told by real MASH surgeons interviewed by the production team. To make M*A*S*H even more deserving of a top spot on the list, its series finale in 1983 was the most-watched television show of that time.
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The Oscars, the Emmys, the Golden Globes — these bigwigs of the awards show community have blossomed with the sort of glitz and prestige that make for can’t-miss annual small screen watching. But even their smaller brethren have some inimitable charms. Wanna see famous people get slimed? Tune into the Kids Choice Awards. Or a grown woman dressed like a stick of butter? Try the Comedy Awards. How about pop icons breaking dishware and neo soul artists kicking people in the head? Easy one: Billboard Music Awards.
We anticipated a good deal of madness when we heard that Tracy Morgan would be hosting the 2013 Billboard Awards — considering the actor/comedian’s adroit ability to take the form of a drunk sea lion. While Morgan managed a pretty civil show, peppering in no more than a few babbles about Wayne Newton being his biological father between the special’s countless array of musical performances, the Billboards did offer a fair share of noteworthy brow raisers…
1) JUSTIN BIEBER GETS BOOEDWhile animosity for Justin Bieber is rampant in the general public, candid expression of Bieber disapproval is usually kept under wraps at music awards shows. After accepting the Milestone Award, however, Bieber was met with a little bit of applause... and a whole lot of booing.
2) KID ROCK DISSES SELENA GOMEZ The country rock artist was one of the Early presenters… clearly they wanted to get him out of the way before he was too sauced. Rock stumbled through a jagged, acerbic introduction, jabbing at the night’s performers for lip-syncing (with Selena Gomez as his implicit target), and even tossing his mic for good measure — just like Pete Townshend would have done.
3) CHRIS BROWN SHOWS OFF MARTIAL ARTS Surprising no one, Chris Brown exhibited yet another extravagant show of poor taste. Infamous for his physical attack on then-girlfriend Rihanna, an allegedly rehabilitated Brown would be wise to distance himself from any semblance of violent behavior. But the dolt that he is instead lines his choreography with martial arts moves. And our contempt grows ever more powerful.
4) TRACY MORGAN GOES "GANGNAM STYLE" The one particularly memorable turn for the 30 Rock vet was his in-costume take on Psy’s "Gangnam Style." Morgan suited up and took on the task of emulating the viral pandemic, making the whole thing… pretty much exactly as ridiculous as it has always been.
5) THE DUDE FROM A-HA SHOWS UP Didn’t you always wish that A-ha would spring from the pages of your public eatery reading material and beckon you into a magical world of pencil sketchings and carefree dancing? Well, the Billboards delivered our 1985 hero Morton Harket in the flesh in an unexpected live (sadly, not animated) performance of "Take on Me" midway through the show.
6) MIGUEL KICKS SOME LADIES IN THE HEADAnd here’s the kicker: R&amp;B artist Miguel, during a performance of "Adorn," attempted a swift airborne maneuver, a surefire way to dazzle his fans with his nimble capabilities. Instead, he knocked two poor women right in the noggin.
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How to describe The Congress? It's like Paul Verhoeven's RoboCop set in Hollywood. It's like a Ralph Bakshi adaptation of Sardi's wall art. It's like The Matrix meets Who Framed Roger Rabbit meets Being John Malkovich meets Enter the Void. Basically, it's wonderfully indescribable.
The latest film from Ari Folman (Waltz with Bashir) adapts Stanislaw Lem's The Futurlogical Congress into a ferocious dissection of mass media, celebrity, and the role of technology in our daily lives. The movie stars House of Cards actress Robin Wright as "Robin Wright," an actress fondly remembered for her roles in movies like Princess Bride and all but "washed up" thanks to a career of lousy choices. But a new offer is on the table for Robin — Miramount Studios wants to buy her image for the next 20 years. With state of the art scanning technology, studio executive Jeff Green (Danny Huston) can capture a range of Robin's facial features and reprocess them into new performances. Princess Bride-era Robin Wright can return and once again wow audiences in movies of every color... as long as real Robin Wright signs on the dotted line, promising to never act again.
With motion capture animation and actor resurrection already a thing (see: the super duper creepy Audrey Hepburn chocolate commercial from last year), the opening moments of The Congress are all too real and all too disturbing. Robin is strong-armed into signing the deal — and with today's legal loopholes, who wouldn't be? — finding herself in the middle of a sensor dome ready to capture her smiles, frowns, and everything in-between. If there was any doubt that Wright continues to be one of the best working actresses in Hollywood (as the diabolical Miramount would make you think), The Congress works her every muscle for a truly profound turn. Case in point: Twenty years after selling her image, Robin is summoned by Miramount to re-up her contraction. But now, Miramount is located in a slice of the world that lives in a Matrix-esque cartoon proxy universe forcing Wright to go under the guise of animated avatar.
Believe it or not, The Congress gets crazier.
Folman previously used 2D animation to realize the horrors of war in Waltz with Bashir, but the style loosens up for The Congress, a spectacle of hallucinogenic imagery and sardonic interpretations of famous faces. In this future, the likenesses of celebrities are no longer being used to churn out blockbusters. Now they can be extracted into drinks, foods, smells, feelings. Green doesn't want Robin to sign on for more movies. He wants her to become a milkshake. In the world of The Congress, we see Pablo Picasso walking arm and arm with Beyonce. Tom Cruise and John Wayne down drinks at a bar. And Robin Wright is just another in an army of Robin Wrights — people admire her, so they become her.
The Congress is a blunt film. Folman has a clear disdain for the current direction of the mainstream and the audiences who willingly digest the factory-produced fluff. It feels autobiographical for Wright too, combating a lifetime of objectification over her looks and discriminating process of picking projects (in the movie, she states that she'll never do a science fiction picture which is true based on her resume.) The movie has a heart — Robin's main goal is rip through the glossy clutter of the animated universe to find her son, Aaron (Kodi Smit-McPhee) — but every conversation, every profession, and every elegant word spoken by Robin's cartoon cohort Dylan (Jon Hamm) speaks to a bigger picture. In short: we're indulging to the point of self-destruction. But hey, if looking like Grace Jones as our brains are slowly fried into oblivion sounds like a silver lining, don't sweat it.
Like last year's Cloud Atlas, The Congress is epic science fiction for the thinking crowd. It's big, bold, and beautiful, with somber tunes from composer Max Richter and an overdose of imagination. It's a movie about how we watch that must be watched. So watch it — if only to prove to the bigwigs in Hollywood that Robin Wright has still got it.
[Photo Credit: Sony Pictures]
Follow Matt Patches on Twitter @misterpatches
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Rapper Drake looks set to dominate the upcoming BET Awards after landing 12 nominations. The Best I Ever Had hitmaker received five nods in the category of Video of the Year, with his promos for Started From The Bottom, HYFR (with Lil Wayne), No Lie (with 2 Chainz), Poetic Justice (with Kendrick Lamar), and Problems all getting nods, while he'll compete with collaborators A$AP Rocky, 2 Chainz and Lamar in the Best Collaboration category.
In addition, Drake's Problems and Started From The Bottom are up for the Coca-Cola Viewers Choice Award, and he'll also battle with Lamar, Future, 2 Chainz, and A$AP Rocky for the title of Best Male Hip Hop Artist. The Best Female Hip Hop Artist trophy will be a fight between Nicki Minaj, Eve, Rasheeda, Rye Rye, and Azealia Banks.
Other nominees include Beyonce, who will duke it out with Rihanna, Alicia Keys, Tamar Braxton, and Elle Varner for Best Female R&B/Pop Artist, and Chris Brown, Usher, Justin Timberlake, Bruno Mars, and Miguel, who will battle to become the Best Male R&B/Pop Artist.
Meanwhile, Angela Bassett, Halle Berry, Taraji P. Henson, Gabrielle Union, Kerry Washington, Don Cheadle, Common, Jamie Foxx, Samuel L. Jackson, and Denzel Washington will do battle for the top acting nods, and Beasts of the Southern Wild, Django Unchained, Something from Nothing: The Art of Rap, Sparkle, and Think Like A Man are up for Best Movie.
The winners will be announced during the Los Angeles ceremony, hosted by Chris Tucker, on 30 June (13).